Contemporary dancers raise their creative voices in world premiere

When Darrell Grand Moultrie created his world-premiere piece for School of Dance's 2023 Winter Dance production "Vital Ground," he sought to deliver a versatile work rich with hybrid contemporary, secular and classical modalities.

The result? A transformative experience.

Wanting to make the performers better individuals, both personally and professionally, who are more open, Moultrie — one of America's most sought-after choreographers and recipient of a Princess Grace Choreography Fellowship Award — aimed to get to the soul of them by "pushing the artists to the heights of their physicality and beyond." And the dancers say he hit the mark.

"He took a chance with me that no one else has," says second-year contemporary dance student TraciAngel Woodard, who performed a solo. "The opportunity of a solo allowed me to push myself in ways I had no clue I could even do until he saw that spark within me. I am truly a changed performer now thanks to Darrell Grand Moultrie," she adds.

Quetzali Hart, a fourth-year student, performed her first solo in Vital Ground. "It felt absolutely amazing to dance my solo on stage! I'm incredibly proud of seeing my personal growth from when the solo was first choreographed and performing it on that stage," she says, adding that Moultrie motivated her to be a better dancer each time she walked into the studio. "He knew what we were capable of as dancers and wanted to push us past what we could do."

That is precisely what Dean of Dance Endalyn T. Outlaw had in mind when she invited Moultrie to set a new piece on UNCSA contemporary dancers. "As dancers, we love our craft. We love to take classes and develop as artists," she says. "Classes and rehearsals are more than a means to an end. Darrell encouraged the students to recognize the sacredness of the moment. Go for it. Liberate yourself."

From Harlem to Broadway and beyond

Outlaw’s connection with Moultrie goes “way back” as she taught him when he was young and later performed with him in the hit Broadway production of "Aida." She introduced him to Arthur Mitchell, co-founder of Dance Theatre of Harlem, who hired him as a choreographer. He has also worked with various ballet companies, including American Ballet Theatre, Atlanta Ballet and BalletMet. Additionally, Beyoncé selected him as one of the choreographers for her "Mrs. Carter" World Tour, and Tony Award-winning director Diane Paulus tapped him to choreograph the original musical "Witness Uganda" at American Repertory Theater.

"I am quite an admirer of Darrell as an artist," Outlaw says.

Moultrie grew up dancing in the streets of his native Harlem at block parties and community events. "I would go to see Broadway musicals and come back and make my friends dance it," he says. "I've been creating since I was young."

His third-grade teacher noticed his potential and got him into formal training, eventually leading him to graduate from the Juilliard School. "What I do with young people comes directly from what my teachers did for me," he says. "I want them to go for it. Make bold choices. You are on this earth for a specific amount of time. Stand in your skin and know how special you are."

Choreography begins with music

Moultrie's creative process begins with music. "I love music, especially classical music. It's very inspiring for me," he says. "I hear a composition and immediately think this music is completely set up for dance. This would be a great track for the beginning (of a choreographed piece). Each track serves the next track."

For Vital Ground, he chose contemporary British composers Oliver Davis (three tracks of classical music) and Jonathan Dove (a piano quintet). "It's music that creates a beautiful energy," he says.

Moultrie says Lighting Designer Isabelle Flores from the School of Design and Production was involved from the start of the project at UNCSA, forming her own ideas. "I love that. I love to let collaborators do what they love. Izzy brought me her ideas and we worked together," he says.

"My costume ideas usually form after the work is almost done," he adds. "It is then that I know how the work moves physically. I always talk with the designer (in this case Dance Costume Shop Manager Marissa McCullough), and again, we combine ideas. I think it's important to let your designers get a moment to build from their artistic gifts."

Tears, laughter and applause

The process started when Moultrie was on campus in December 2022 to conduct auditions and teach the choreography. "I had the pleasure to observe the audition, not to influence his selections but to watch his process," Outlaw says. "It was incredible to see, specifically, how he expressed his expectation of the students’ success, his trust in them and his warmth.

"There were tears, laughter and applause. They became a community," says the dean.

Woodard and Hart describe the audition process. "I will never, ever forget my audition," Woodard says. "Darrell pushed me out of my comfort zone. He saw something in me that I never saw within myself, and I am forever grateful that he did."

Hart recalls Moultrie walking into the studio with a smile on audition day. "He had a very calm presence, making me feel less anxious about the audition. He kept the room's energy high and didn't bring any kind of negative energy into the space,” she says. "I never felt nervous or anxious and I think that is because of the way Darrell conducted the audition and truly allowed us to dance and be present within the space."

Moultrie's positive energy grew during his time on campus, expanding through the dancers. "We all were able to channel his persona as not only a professional but as a person and we grew a community," says Woodard.

Moultrie left after two weeks for a previous engagement, entrusting alumnus and Dance faculty member Ashley Lindsey with leading rehearsals of Vital Ground. "He was amazing, my right-hand man. I knew I was leaving it in good hands," Moultrie says.

Vital Ground premiered during Winter Dance Feb. 23-26.

Do the work, keep doing the art

"I was honored to be invited to UNCSA by Dean Outlaw," Moultrie adds. "It was pretty amazing to be on campus. I have many friends who went to school there and it was cool to experience it for a few weeks."

Outlaw says exposing students to working choreographers like Moultrie is critical to the student's training. "It is important that they know different choreographers with different techniques and processes. They learn to expand and hone their skills," she says.

Guest artists like Moultrie are also a bridge to the industry in multiple ways, she adds. "Students learn the etiquette of being a professional artist, how to shine and be part of the artistic community, how to network."

What I do with young people comes directly from what my teachers did for me ... I want them to go for it. Make bold choices. You are on this earth for a specific amount of time. Stand in your skin and know how special you are.

Darrell Grand Moultrie

Moultrie says his vision is to recognize the training environment as a sacred and sensitive space. "Life is organized chaos. When you get into the real world, you need to stay open. Don't care about what people think. You can't wait for the critique. Do the work. Success doesn't come as quickly as you want it to.”

When asked about advice to aspiring choreographers he shares, "You want to be a choreographer? Get into the studio. Keep doing the art. Be there to support other choreographers. Find your voice."

by Lauren Whitaker

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